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Mumien

Thomas Larcher (b. 1963)

Natalie Clein (photo credit: Sussie Ahlburg )

Natalie Clein (photo credit: Sussie Ahlburg )

Composer
Thomas Larcher (b. 1963)
Composition Year
2001/2
Work Movements
1. Tempo giusto
2. Schneller
3. Langsam
Artists
Thomas Larcher [piano], Natalie Clein [cello]

Programme Note Writer:
© Francis Humphrys

The composer’s note for this short but spectacular piece is both laconic and inscrutable

mummified – wrapped up – concealed

dried up – parched – leathery traces of memory

dissecting – opening of spots of barely a square centimetre –

elder-berries in the stomach

sampling of fabric – under the microscope the nanokosmos is exploding

This vision of dissected dessication is hard to relate to the music. It opens fiercely and gets fiercer.

Obsessive repeated notes are surrounded by elusive harmonies. The prepared piano conjures up an extraordinary range of fascinating sounds. Its jagged hammering quickly explodes into stinging unrelenting bursts. These return in different form in the rhythmically intense second movement. Most disconcerting is a moment towards the end of the other-worldly final movement when the repeated notes on the piano become inseparable from pizzicato cello.

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Mumien

Composer: Thomas Larcher (b. 1963)
Performance date: Monday 2nd July 2012
Venue: St. Brendan's Church, Bantry, Co Cork, Ireland

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Composer Thomas Larcher (b. 1963)
Work Title Mumien
Composition Year 2001/2
Work Movements 1. Tempo giusto
2. Schneller
3. Langsam
Artist(s) Thomas Larcher [piano], Natalie Clein [cello]
Performance Date Monday 2nd July 2012
Performance Venue St. Brendan's Church, Bantry, Co Cork, Ireland
Event Stars in the Afternoon
Duration 00:11:16
Recording Engineer Anton Timoney, RTÉ lyric fm
Instrumentation Category Duo
Instrumentation vc, pf
Programme Note Writer © Francis Humphrys

The composer’s note for this short but spectacular piece is both laconic and inscrutable

mummified – wrapped up – concealed

dried up – parched – leathery traces of memory

dissecting – opening of spots of barely a square centimetre –

elder-berries in the stomach

sampling of fabric – under the microscope the nanokosmos is exploding

This vision of dissected dessication is hard to relate to the music. It opens fiercely and gets fiercer.

Obsessive repeated notes are surrounded by elusive harmonies. The prepared piano conjures up an extraordinary range of fascinating sounds. Its jagged hammering quickly explodes into stinging unrelenting bursts. These return in different form in the rhythmically intense second movement. Most disconcerting is a moment towards the end of the other-worldly final movement when the repeated notes on the piano become inseparable from pizzicato cello.